Interview with Andy Wicks

q) Well, first of all please tell us a little about yourself.

a)I was born on the southern edge of London, a world of commuters and slightly wider streets. I spend most of my time in east London these days where I have my studio practice and do a bit of technician work.

q)How would you describe your work?

a)I'm interested in the city and the role it plays in our lives. I enjoy walking paths and looking for things that others may miss, subtle oddities in the environment that take my imagination. My current body of work has taken River Thames mooring structures (dolphins) as an motif for a forgotten past, one of the remaining elements of the River's (and the city's) shipping heritage. Still rooted to the mudbanks but gently rotting away with the movement of the tide. There's a form of romantic longing and storytelling held within these structures for me. The paintings I've make as a result walk a line between the heavy ugly brutality of their construction (rotting and rusting colours) and a simplistic beauty in their form.

q) Did somebody encourage you to become an artist?

a)I wouldn't say one person did as such, but growing up I enjoyed playing with art materials. I would always be painting and drawing on family holidays even from a young age. While at school it became apparent that the only subject I really cared about was the art lesson so I just took each opportunity to study further until I got to the stage that I couldn't imagine doing anything else.

q) What is your favorite medium?

a)I work mainly with oil paint and use resins to create a flat layered surface to work on to. I enjoy the constant discovery of the medium, the way it can be manipulated to perform in numerous ways on the same canvas.

q) Generally speaking, where do your ideas come from?

a)The world around me informs my ideas, often from walking somewhere with my camera and having an appreciation for the undervalued.

q) How long does it take to complete a piece?

a)With long drying times especially using resin I usually have a few canvases on the go at once. They can take anything from a couple of weeks to few months. I don't tend to come back to unfinished pieces, if they aren't working for me I move on to something that has more potential.

q) Who are your favorite artists…and who are some artists you are currently looking/listening to?

a)My tastes are split down the middle between 'clean' abstraction (Tobias Lehner, Thomas Scheibitz) and a more out their 'messy' approach (Albert Oehlen, Anselm Kiefer). I guess I should also say I'm particular into German artist if that wasn't already apparent... I'm also into the work of Gert & Uwe Tobias who are known for producing large woodcuts but their output also includes sculpture, collage, drawing all tided together through interest exhibition design.

q) Are you represented by a gallery? Do you have any upcoming exhibits?

a)I'm not represented but try to be proactive when it comes to exhibiting opportunities. I had a painting in the London Art Fair recently and have two group shows coming up in April/May, both are the debut exhibitions for new project spaces in South London; Collectible at Zeitgeist Project Space in New Cross and Past and Present at Occupy my Time in Deptford. I'm also looking forward to making my first sculpture which will be on display at WW Gallery's Patio Projects in July, which is part of a public art commission series.

q) Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

a)I prefer to get into the studio early and ease into the day by looking at what I've been working on, I also need to get in early as I know I can procrastinate with my ritual of catching up on the news so I try to build that into my day. I usually have music playing while working but don't feel that I need a particular sound to get me in the mood for work, if I'm in the mood I'll get stuff done, the music just keeps me going.

q) What is your favorite a) taste, b) sound, c) sight, d) smell, and e) tactile sensation?

a)A hard question to answer.. a/ taste is best when when unexpected flavours work together but I like spicy things b/ the sound of the sea, seagulls & a gentle wind blowing c/ an uninterrupted landscape of rolling hills and openness d/ burning coals (or the non romantic answer - hot tarmac & petrol) e/ cold soft powdery snow.

q) Do you have goals that you are trying to reach as an artist, what is your 'drive'? What would you like to accomplish in your 'profession'?

a)I push myself to be better, to enjoy the journey and grow with each opportunity. I am very driven and like most artists I never really switch off, but at that level of involvement with your own practice and the surround artworld you have to love it to keep the level of energy up.

q) When have you started using the internet and what role does this form of communication play for you, personally, for your art, and for your business?

a)I suppose I am part of first home computer generation (a child of the 80s) . I was an early starter with websites and actually brought my domain name in my mid teens while at school to show my developing art activities. I now rely on the web to communicate what i'm up to and have found Twitter to be a great tool for networking, I also blog regularly and use Mail Chimp for exhibition mailing list. I find using a mix of social media and websites keeps me connected and up to date with goings on and helps get my work to new audiences (such as being asked to take part in online interviews!).

q) What do you obsess over?

a)Career, life/work balance, quality of work produced etc. Its all to easy for an artist to get obsessed by everything but generally I try to keep a balanced head and get on with it.

q) Do you have prefered working hours? Do you pay attention to the time of the day or maybe specific lighting?

a)I recently did a year long residency at the Florence Trust (a charitable artist studio program in a Grade 1 listed church in North London), while there I worked full days up to 7 days a week. An amazing experience but not possible for a sustained existence living in an expensive city. I'm a freelance art technician so now have a mix of odd days off in the week, evenings and weekends. I prefer an early start and have full days but realise I have to make do whenever I have the opportunity.

q) Do you do commissioned works?

a)I've done a few bits for friends and family but even those I found stressful and incongruous with my usual way of working.

q) Any tips for emerging artists?

a)A visiting tutor said to me on my foundation that the only reason why he didn't get further with his art is he didn't have the energy for it. At the time I was worried I didn't have the drive and determination to make a go of it but I knew I enjoyed making work. Over time I saw people around me get opportunities and have some form of success, as a young artist a group of peers is an invaluable thing, a great motivator and education in the workings of the system. Don't expect too much too soon but love what you do and observe others. Don't wait for opportunities but create them - organise shows, studio groups, meet people and engage.

q)…Your contacts

a)www.andywicks.co.uk

www.andywickspaints.wordpress.com

www.twitter.com/andywickspaints

Interview with Karel Balcar

q) Well, first of all please tell us a little about yourself.

a)I’m a figurative painter, living and working in Prague and East Bohemia’s village (which I call brixen – that’s why I (especially in this period) sign my paintings .KB von brixen. My artistic development went from abstraction to figuration. Before I decided for painting, I studied technicaly oriented schools and also music. Finally I graduated at Prague’s Academy of Fine Arts. Since then, most of the time I managed to make my living as a painter.

q)How would you describe your work?

a)My work contains contemporary topics executed in depictive painting, which takes inspiration in Renaissance, Mannerism and Baroque – especially works of Bartholomeus Spranger and Hans von Aachen, the court painters of emperor Rudolf II. (those days working in Prague), as well as Caravaggio. So, from the form aspect, I’m not true “hyper- or photo-“ realist, although I use photograph in my work. Mostly I paint over-life-size details of human bodies, in erotic context, with “suffering from existence” aspect also, sometimes ironic. My palette is darker, flesh tones more pale, avoiding loud colors.

q) Did somebody encourage you to become an artist?

a)Basically, I’m a typical self-made artist, at least in first period of my development. Later on, when my decision was quite firm, I got lots of support from my family, especially from my sister and my wife.

q) What is your favorite medium?

a)Mostly I work in oil only, with little use of gouache, alkyd or acrylic colours.

q) Generally speaking, where do your ideas come from?

a)Sometimes I give myself a task, like I did at Academy, when working on theme of the death ( resulted in The Abortion, Section I & II, Variations on The Suicide of Lucretia paintings ), but mostly my ideas are abstract, or I take inspiration from music. Simply speaking, I have a kind of “feeling” and I’m trying to paint it using figurative form.

q) How long does it take to complete a piece?

a)As I work in superimposed layers, it’s difficult to say “how long does it take”, it varies also depending on the size of a painting, since smaller pieces can be done (with use of fast drying colours for underpainting) relatively continuously and finished in terms of several days or weeks, whereas larger paintings are executed in oil only (on gouache imprimatur), with longer drying periods for each layer, so finally it makes several months altogether. I would like to mention, that I rarely use primed canvasses, I make my own “old style” gesso, so this extra work takes some time too. And also, a painted picture is not just a mere result of paint transfer from palette onto canvas, there’s some “brain work time “ too, “waiting for inspiration” time, “do it again” time (when not satisfied with result of a day’s effort) .... and still not speaking about self education, relationship investments ... J

q) Who are your favorite artists…and who are some artists you are currently looking/listening to?

a)It’s interesting, this question I find very difficult to answer when speaking about visual arts. Maybe, the reason could be , the more I go back into past, the more compact life work of artists seem to be, and on the contrary, the more I go forth to contemporary, sometimes only one or several pieces I like, and it even changes, one name replaces another ... maybe the reason of difficulty lays in “professional” aspect – one famous soprano singer, when asked what kind of music she listens to in her free time, replied “ I prefer silence ..” . If I would have to name at least several names from art history (painters), following wouldn’t be missing : van Eyck, Rogier van der Veyden, Michelangelo, Leonardo, Tizian, Caravaggio, von Aachen, Spranger, Velazques, Rubens, Rembrandt .. Magritte, Delvaux .. . When working, I often listen to music, either classical ( Bach, Wagner, Grieg, Prokofiev, Shostakovich, Janacek, Martinu, R. Strauss, Schoenberg, Dupre, Tchaikovsky, Puccini, Verdi ..), or “easier” (F. Zappa, Young Gods, Ministry, ZZ Top, Vltava, Natasha Atlas, Faith No More, Dire Straits .. (nice mixture, isn’t it ?). I never listen to a radio when working, unexpected contents disturbs me, so newest things I listen to from radio in my car, but I don’t find any reason to remember names of authors ... just “consuming”)

q) Are you represented by a gallery? Do you have any upcoming exhibits?

a)I am cooperating with several galleries in Prague and one in Germany. This is a most frequented solution for czech scene, it works in our specific situation. I’m preparing exhibition in Vltavin Gallery, Prague in May.

q) Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

a)When I enter my studio in summer, then with teapot in one hand and glass of water in other. In winter carrying banana box with wood in both hands. In any case I say “ good morning”. Then I sit on the sofa, drink tea and think of the day’s task. When all disturbing thoughts are far away and I feel ready for work, I prepare colours on my palette, prepare brushes I expect to need, sometimes eat a piece of dark chocolate, sip my tea from time to time. When feeling like, I listen to music, till lunch classical only, starting with sth soft (like Janacek “In Mists” or Grieg’s “Heart Wounds”). After lunch, not to fall asleep, I listen to more rytmical, energetic music, never classical. When I feel the day’s work is over, I look for the last time at the painting, and if I decide to leave, I never look at it again till next day (on “Sundays” I avoid looking at work in progress at all, not to start thinking about it). I clean brushes and palette and leave as quickly as possibile. I say “good bye” before I close the door of studio.

q) What is your favorite a) taste, b) sound, c) sight, d) smell, and e) tactile sensation?

a)Taste – of kiss ;-) , spicy, sweet

Sound – human voice, preferably soprano

Sight – landscape, human body (preferably women)

Smell – smells, which remind me of childhood, heavier exotic scents

Tactile – human skin ( preferably .... J )

q) Do you have goals that you are trying to reach as an artist, what is your 'drive'? What would you like to accomplish in your 'profession'?

a)a difficult question, a friend of mine has told me once some Asian proverb - “work well (good), not better ”, and with knowledge of this it’s difficult to say “I’m trying to make better compositions, I try to paint my topics in a better way, generally speaking trying to make better paintings”, and so “ to make a good painting” sounds reasonable to me.

q) When have you started using the internet and what role does this form of communication play for you, personally, for your art, and for your business?

a)I started using internet couple of years ago, I don’t remember when. Since then, internet has important position for me, as means of communication first. Not so much for direct business, as my paintings are not those sold via e-shop. But some people got known me through the internet, no doubt. Nevertheless, personal contacts, galleries and exhibitions are still of biggest importance for “the business”. I’m not browsing all the time, looking for inspiration etc., what internet gives me, is feeling of being a member of artistic community, possibility to give and get moral support (as artist’s life isn’t that of easiest ), to see other artist’s development and results, which gives me subliminal whisper “couldn’t you work just a little bit harder ?” J

q) What do you obsess over?

a)... reminds me of Woody Allen’s “What’s your perversion ?” J I was on the way to tell how it surprises me, that I haven’t been thinking about this topic yet, but it wouldn’t be true .. When at the Prague’s Academy, I was given nickname “lacemaker” (besides of “ daddy” for I had a son already), simply because ladie’s underwear appeared on my paintings more often to be just a coincidence. But for me it’s primarily way, how to get detail contrasting with flesh into painting, I like the way it can divide the body into areas, thus giving it sense of rhytm. Erotic context not denied, of course. Much more true “obsession” for me is to have always clean brushes & palette, “tidy” studio (although I clean it once a year regularly, when the “heating period” is over – maybe more precisely “keep it tidy without cleaning” J ), starting day with breakfast and having enough of outdoor sport activity ..

q) Do you have prefered working hours? Do you pay attention to the time of the day or maybe specific lighting?

a)I prefer working in daylight, just because it’s best for painting. But unfortunately, I’m not the one, who likes getting up early and even my brain seems to wake up after 9 am (it means around 10-11 am is reliably in working mode). So, from around 9.30 am till approx. 1 pm is my first phase of work, then after lunch I go on till I complete intended part of work per that particular day (mostly finish when light gets weaker before twilight). Basically, I don’t like starting after lunchtime, so first “opening” phase of work in the morning is very important for me – sometimes, if I don’t succeed to start painting, it may happen, that I will not paint that day at all (sometimes it’s the way my instinct tells me this day isn’t suitable for working (I’m too exhausted, the weather is changing ..)). When working, I don’t respect days in week, I proceed in the way painting requires, taking “sundays” when I can’t paint from some reason ( and of course, there are “sundays” when I have to manage sth for my family etc.)(.. sometimes nervous when having too many Sundays in a week J).

q) Do you do commissioned works?

a)I have no problem with working on commission, provided ... it interests me, it doesn’t affect my freedom and it serves as a means for my artistic development. (I’m learning from my past J )

q) Any tips for emerging artists?

a)I think it’s important to discern things, you should change in your art from those you should keep, it means where to be stubborn and where to “feel the wave” (if it’s not all about “following instincts” J ). And of course, you’ll never plough the field by turning it around in your head” (J. Joyce), so practising your art as much as it’s reasonable.

PS I consider myself to be an emerging artist too J

q)…Your contacts

a)balcarkarel@seznam.cz

www.karel-balcar.cz

www.facebook.com/ karel balcar

www.saatchionline.com/yourgallery karel balcar